Sydney Opera House is a Multi

8/8/2019 Sydney Opera House is a Multi

1/15

Sydney Opera House is a multi-venue performing arts centre on Bennelong Point in Sydney,New South Wales, Australia. It was conceived and largely built by Danish architect Jrn

Utzon, who, in 2003, received the Pritzker Prize, architecture's highest honour.[1]

The citationstated:

There is no doubt that the Sydney Opera House is his masterpiece. It is one of thegreat iconic buildings of the 20th century, an image of great beauty that has becomeknown throughout the world a symbol for not only a city, but a whole country andcontinent.

Sydney Opera House was made a UNESCOWorld Heritage Site on 28 June 2007.[2]Currently, it is the most recently constructed World Heritage Site to be designated as such,sharing this distinction with such ancient landmarks as Stonehenge and the Giza Necropolis.It is one of the 20th century's most distinctive buildings and one of the most famous

performing arts centres in the world.

Sydney Opera House is situated on Bennelong Point in Sydney Harbour, close to the Sydney

Harbour Bridge. It sits at the northeastern tip of the Sydney central business district (theCBD), surrounded on three sides by the harbour (Sydney Cove and Farm Cove) andneighboured by the Royal Botanic Gardens.

Contrary to its name, the building houses six venues. The two largest venues, the OperaTheatre and Concert Hall, are housed in the two larger sets of shells. Three smaller theatres,the Drama Theatre, Playhouse and Studio are situated on the western side of the building, andthe Utzon Room on the eastern side. The award winning Guillaume at Bennelong restaurantoccupies the smaller set of shells. A seventh performance space, The Forecourt, is regularlyused for free community events and large scale outdoor performances.

As one of the busiest performing arts centres in the world, providing over 1,500 performanceseach year attended by some 1.2 million people, Sydney Opera House promotes and supportsmany performing arts companies including the four key resident companies Opera Australia,The Australian Ballet, Sydney Theatre Company and Sydney Symphony. Sydney OperaHouse also presents more than 700 of its own performances annually that offer an eclecticmix of artistic and cultural activities for all ages from the educational to the experimental. Itis also one of the most popular visitor attractions in Australia, with more than 7 million

people visiting the site each year.

Sydney Opera House is administered by the Sydney Opera House Trust, under the NewSouth Wales Ministry of the Arts.

Contents

[hide]

y 1 Descriptiono 1.1 Performance venues and facilities

y 2 Construction historyo 2.1 Origins


2/15

o 2.2 Design and construction 2.2.1 Stage I: Podium 2.2.2 Stage II: Roof 2.2.3 Stage III: Interiors

o 2.3 Significant changes to Utzon's designo 2.4 Completion and cost

y 3 Jrn Utzon and his resignationo 3.1 Openingo 3.2 Reconciliation with Utzon

y 4 Inspiration for new worksy 5 10th anniversary of the Message Sticks Festivaly 6 See alsoy 7 Referencesy 8 Further readingy 9 External links

[edit] Description

Sydney Opera House is a modern expressionist design, with a series of large precast concrete

"shells",[3]

each composed of sections of a hemisphere of the same radius, forming the roofsof the structure, set on a monumental podium. The building covers 1.8 hectares (4.5 acres) of

land and is 183 metres (605 ft) long and 120 metres (388 ft) wide at its widest point. It issupported on 588 concrete piers sunk as much as 25 metres below sea level.

The roofs of the House are covered in a subtle chevron pattern with 1,056,006 glossy white-and matte-cream-colored Swedish-made tiles from Hgans AB,

[4]though, from a distance,

the shells appear a uniform white.

The Concert Hall is located within the western group of shells, the Opera Theatre within theeastern group. The scale of the shells was chosen to reflect the internal height requirements,with low entrance spaces, rising over the seating areas and up to the high stage towers. Thesmaller venues, Drama Theatre, Playhouse, and The Studio are located beneath the ConcertHall. A smaller group of shells set to one side of the Monumental Steps houses theBennelong Restaurant. Although the roof structures of the Sydney Opera House arecommonly referred to as "shells" (as they are in this article), they are in fact not shells in astrictly structural sense, but are insteadprecast concrete panels supported by precast concreteribs.

[5]

Apart from the tile of the shells and the glass curtain walls of the foyer spaces, the building's

exterior is largely clad with aggregate panels composed of pink granite quarried in Tarana.Significant interior surface treatments also include off-form concrete, Australian white birchplywood supplied from Wauchope in northern New South Wales, andbrush boxglulam.[6]

[edit] Performance venues and facilities

The Opera House houses the following performance venues:


3/15

y The Concert Hall, with 2, 78 seats, is the home ofthe Sydney Symphony and usedby a large number of other concert presenters. It contains theSydney Opera HouseGrand Organ, the largest mechanicaltracker action organ in the world, with over10,000 pipes.[citation needed]

y TheOpera Theatre, aproscenium theatre with 1,507 seats, is the Sydney home ofOpera Australia and The Australian Ballet.

y The Drama Theatre, aproscenium theatre with 544 seats, is used by the SydneyTheatre Companyand other dance and theatrical presenters.

y The Playhouse, an end-stage theatre with 3 8 seats.y The Studio, a flexible space with a maximum capacity of 400 people, depending on

configuration.y The Utzon Room, a small multi-purpose venue, seating up to 210.y The Forecourt, a flexible open-air venue with a wide range of configuration options,

including the possibility of utilising the Monumental Steps as audience seating, usedfor a range of community events and major outdoor performances.

Other areas (for example the northern and western foyers) are also used for performances onan occasional basis. Venues atthe Sydney Opera House arealso used for conferences,

ceremonies, and social functions. The building also houses a recording studio, cafes,restaurants and bars and retail outlets. A daily backstage tourtake visitors backstage to seeareas normally reserved for performers and crewmembers, and The Essential Tour, whichdeparts every half hour between am and 5pm tells the story of how the building came intoexistence againstimpossible odds.

Interior ofConcert Hall

edit] Construction history

edit] Origins


4/15

Construction progress in 1

Planning forthe Sydney Opera House began in the late 1 40s, whenEugene Goossens, theDirector oftheNSW State Conservatorium ofMusic, lobbied for a suitable venue forlargetheatrical productions. The normal venue for such productions, the Sydney Town Hall, was

not considered large enough. By 1 54, Goossens succeeded in gaining the support ofNSWPremierJoseph Cahill, who called for designs for a dedicated opera house. It was alsoGoossens who insisted thatBennelong Point be the site forthe Opera House. Cahill hadwanted itto be on or nearWynyard Railway Stationin the northwest ofthe CBD. [7]

A design competition was launched by Cahill on 13 September 1 55 and received 233entries, representing architects from 32 countries. The criteria specified a large hall seating3000 and a small hall for 1200 people, each to be designed for different uses, including full-scale operas, orchestral and choral concerts, mass meetings, lectures, ballet performances andother presentations.

[8]The winner, announced in 1 57, wasJrn Ut on, a Danish architect.

The pri e was 5,000[

]. Ut on visited Sydney in 1 57 to help supervise the project[10]. His

office moved to Sydney in February 1 3.

[edit] Design and construction

The FortMacquarie Tram Depot, occupying the site atthe time ofthese plans, wasdemolished in 1 58, and formal construction ofthe Opera House began in March, 15 . The

project was builtin three stages. Stage I (1 5 1 3) cons isted of building the upper podium.Stage II (1 31 7) saw the construction ofthe outer shells. Stage III (1 71 73)consisted ofthe interior design and construction.

[edit] Stage I: Podium

Stage I commenced on March 2, 1 5 by the construction firmCivil & Civic, monitored bythe engineers Ove Arup and Partners.[11]

The government had pushed for workto begin early,fearing that funding, or public opinion, mightturn againstthem. However, Ut on had still notcompleted the final designs. Major structuralissues still remained unresolved. By 23 January1 1, work was running 47 weeks behind,

[11] mainly because of unexpected difficulties(inclement weather, unexpected difficulty diverting stormwater, construction beginning

before proper construction drawings had been prepared, changes of original contractdocuments). Work on the podium was finally completed in February 1 3. The forced earlystartled to significantlater problems, notleast of which was the factthatthe podium columnswere not strong enough to supportthe roof structure, and had to be re-built.[12]

[edit] Stage II: Roof

The shells ofthe competition entry were originally of undefinedgeometry,[13] but, early in thedesign process, the "shells" were perceived as a series ofparabolas supported byprecastconcrete ribs. However, engineers Ove Arup and Partners were unable to find an acceptablesolution to constructing them. The formworkfor using in-situ concrete would have been

prohibitively expensive, but, because there was no repetition in any ofthe roof forms, theconstruction of precast concrete for each individual section would possibly have been evenmore expensive.


5/15

Construction progress in 1 8

From 1 57 to 1 3, the design team wentthrough atleasttwelve iterations ofthe form ofthe

shells trying to find an economically acceptable form (including schemes with parabolas,circular ribs and ellipsoids) before a workable solution was completed. The design work on

the shells involved one ofthe earliest uses ofcomputersin structural analysis, in ordertounderstand the complex forcesto which the shells would be subjected.[14] In mid-1 1, the

design team found a solution to the problem:the shells all being created as sections from asphere. This solution allows arches of varying length to be castin a common mold, and anumber of arch segments of common length to be placed adjacentto one another, to form a

spherical section. With whom exactly this solution originated has been the subject of somecontroversy. It was originally credited to Ut on. Ove Arup's letterto Ashworth, a member ofthe Sydney Opera House Executive Committee, states:"Ut on came up with an idea ofmaking allthe shells of uniform curvature throughoutin both directions."

[14]Peter Jones, the

author of Ove Arup's biography, states that"the architect and his supporters alike claimed torecallthe precise eureka moment...; the engineers and some oftheir associates, with equalconviction, recall discussion in both central London and at Ove's house."

Sydney Opera House shell ribs

He goes on to claim that"the existing evidence shows that Arup's canvassed several

possibilities forthe geometry ofthe shells, from parabolas to ellipsoids and spheres."[14]

YuzoMikami, a member ofthe design team, presents an opposite view in his book on the project,

Utzon's Sphere.[15][1 ]

Itis unlikely thatthe truth will ever be categorically known, butthere isa clear consensus thatthe design team worked very wellindeed forthe first part ofthe project

and that Utzon, Arup, and Ronald Jenkins (partner of Ove Arup and Partners responsible forthe Opera House project) all played a very significant partin the design development.[17]

As PeterMurray states in The Saga of the Sydney Opera House[12]:

...the two men and theirteams enjoyed a collaboration that was remarkable inits fruitfulness and, despite many traumas, was seen by most ofthose involved in the


6/15

project as a high point of architect/engineer collaboration.

The glazed ceramic tiles ofthe Sydney Opera House

The shells were constructed by Hornibrook Group Pty Ltd[18]

, who were also responsible forconstruction in Stage III. Hornibrook manufactured the 2400 precast ribs and 4000 roof

panels in an on-site factory and also developed the construction processes.[12]

Theachievement ofthis solution avoided the need for expensive formwork construction by

allowing the use of precast units (it also allowed the rooftiles to be prefabricated in sheets onthe ground, instead of being stuck on individually at height). Ove Arupand Partners' site

engineer supervised the construction ofthe shells, which used an innovative adjustable steel-trussed "erection arch"to supportthe different roofs before completion. On April 1 2, itwas estimated thatthe Opera House would be completed between August 1 4 and March1 5.

[edit] Stage III: Interiors

The Concert Hall and Grand Organ

Stage III, the interiors, started with Utzon moving his entire office to Sydney in February

1 3. However, there was a change of governmentin 1 5, and the new Robert Askingovernment declared the project underthe jurisdiction ofthe Ministry of Public Works. Thisultimately led to Utzon's resignation in 1 (see below).

The cost ofthe project so far, even in October 1 , was still only $22. million[1 ], less thana quarter ofthe final $102 million cost. However, the projected costsforthe design were atthis stage much more significant.


7/15

The second stage of construction was progressing toward completion when Utzon resigned.His position was principally taken over by Peter Hall, who became largely responsible fortheinterior design. Other persons appointed that same yearto replace Utzon were E. H. Farmeras government architect, D. S. Littlemore and Lionel Todd.

Following Utzon's resignation, the acoustic advisor, LotharCremer, confirmed to the Sydney

Opera House Executive Committee (SOHEC) that Utzon's original acoustic design onlyallowed for 2000 seats in the main hall and further stated thatincreasing the number of seatsto 3000 as specified in thebriefwould be disastrous forthe acoustics. According to PeterJones, the stage designer, Martin Carr, criticised the "shape, height and width ofthe stage, the

physical facilities for artists, the location ofthe dressing rooms, the widths of doors and lifts,and the location oflighting switchboards."[14]

[edit] Significant changes to Utzon's design

The Opera House seen from the north

y The major hall, which was originally to be a multipurpose opera/concert hall, becamesolely a concert hall, called the Concert Hall. The minor hall, originally for stage

productions only, had the added function of opera and balletto deal with and is called

the Opera Theatre. As a result, the Opera Theatre is inadequate to stage large-scaleopera and ballet. A theatre, a cinema and a library were also added. These were laterchanged to two live drama theatres and a smallertheatre "in the round". These nowcomprise the Drama Theatre, the Playhouse, and the Studio, respectively. Thesechanges were primarily because ofinadequacies in the original competition brief,which did not make it adequately clear how the Opera House was to be used. Thelayout ofthe interiors was changed, and the stage machinery, already designed andfitted inside the major hall, was pulled out and largely thrown away.[citation needed]

y Externally, the cladding to the podium and the paving (the podium was originally notto be clad down to the water, butto be left open).[citation needed]

y The construction ofthe glass walls (Utzon was planning to use a system ofprefabricated plywood mullions, but a different system was designed to deal with the

glass).[citation needed]

y Utzon's plywood corridor designs, and his acoustic and seating designs forthe interior

of both major halls, were scrapped completely. His design forthe Concert Hall wasrejected as it only seated 2000, which was considered insufficient.[14] Utzon employedthe acoustic consultant LotharCremer, and his designs forthe major halls were latermodelled and found to be very good.

[citation needed]The subsequent Todd, Hall and

Littlemore versions of both major halls have some problems with acoustics,particularly forthe performing musicians. The orchestra pitin the Opera Theatre iscramped and dangerous to musicians' hearing.[20] The Concert Hall has a very high


8/15

roof, leading to a lack of early reflections onstageperspex rings (the "acousticclouds") hanging over the stage were added shortly before opening in an

(unsuccessful) attempt to address this problem.[cit ti ]

[edit] Completion and cost

The Opera House was formally completed in 1973, having cost $102 million.[21] H.R. "Sam"Hoare, the Hornibrook director in charge of the project, provided the following

approximations in 1973: Stage I: podium Civil & Civic Pty Ltd approximately $5.5m. StageII: roof shells M.R. Hornibrook (NSW) Pty Ltd approximately $12.5m. Stage III: completion

The Hornibrook Group $56.5m. Separate contracts: stage equipment, stage lighting and organ$9.0m. Fees and other costs $16.5m.

The original cost estimate in 1957 was 3,500,000 ($7 million). The original completion dateset by the government was 26 January 1963 (Australia Day).[14] Thus, the project wascompleted ten years late and over-budget by more than fourteen times.

[edit] Jrn Utzon and his resi nationBefore the Sydney Opera House competition, Jrn Utzon had won seven of the eighteencompetitions he had entered but had never seen any of his designs built.[14] Utzon's submittedconcept for the Sydney Opera House was almost universally admired and consideredgroundbreaking. The Assessors Report of January 1957, stated:

The drawings submitted for this scheme are simple to the point of beingdiagrammatic. Nevertheless, as we have returned again and again to the study ofthese drawings, we are convinced that they present a concept of an Opera Housewhich is capable of becoming one of the great buildings of the world.

For the first stage of the project, Utzon worked very successfully with the rest of the designteam and the client, but, as the project progressed, the Cahill government insisted on

progressive revisions. They also did not fully appreciate the costs or work involved in designand construction. Tensions between the client and the design team grew further when an earlystart to construction was demanded despite an incomplete design. This resulted in acontinuing series of delays and setbacks while various technical engineering issues were

being refined. The building was unique, and the problems with the design issues and costincreases were exacerbated by commencement of work before the completion of the final

plans.

After the election ofRobert Askin as premier ofNew South Wales in 1965, the relationship

of client, architect, engineers and contractors became increasingly tense. Askin had been a"vocal critic of the project prior to gaining office."[22] His new Minister for Public Works,Davis Hughes, was even less sympathetic. Elizabeth Farrelly, Australian architecture critic,has written that:

at an election night dinner party in Mosman, Hughes's daughter Sue Burgoyneboasted that her father would soon sack Utzon. Hughes had no interest in art,architecture or aesthetics. A fraud, as well as a philistine, he had been exposed


9/15

before Parliament and dumped as Country Party leader for 19 years of falselyclaiming a university degree. The Opera House gave Hughes a second chance. Forhim, as for Utzon, it was all about control; about the triumph of homegrownmediocrity over foreign genius.[22]

Differences ensued. One of the first was that Utzon believed the clients should receiveinformation on all aspects of the design and construction through his practice, while theclients wanted a system (notably drawn in sketch form by Davis Hughes) where architect,contractors, and engineers each reported to the client directly and separately. This had greatimplications forprocurement methods and cost control, with Utzon wishing to negotiatecontracts with chosen suppliers (such as Ralph Symonds for the plywood interiors) and the

New South Wales government insisting contracts beput out to tender.[12]

Utzon was highly reluctant to respond to questions or criticism from the client's SydneyOpera House Executive Committee (SOHEC).[14] However, he was greatly supportedthroughout by a member of the committee and one of the original competitionjudges,

ProfessorHarry Ingham Ashworth. Utzon was unwilling to compromise on some aspects of

his designs that the clients wanted to change.

Utzon's ability was never in doubt, despite questions raised by Davis Hughes, who attemptedto portray Utzon as an impractical dreamer. Ove Arup actually stated that Utzon was"probably the best of any I have come across in my long experience of working witharchitects"

[14]and:

The Opera House could become the world's foremost contemporary masterpiece ifUtzon is given his head.

In October 1965, Utzon gave Hughes a schedule setting out the completion dates of parts of

his work for stage III.[cit

ti

] Utzon was at this time working closely with RalphSymonds, a manufacturer ofplywood based in Sydney and highly regarded by many, despitean Arup engineer warning that Ralph Symonds's "knowledge of the design stresses of

plywood, was extremely sketchy" and that the technical advice was "elementary to say theleast and completely useless for our purposes." Australian architecture critic ElizabethFarrelly has referred to Ove Arup's project engineer Michael Lewis as having "otheragendas"[22]. In any case, Hughes shortly after withheld permission for the construction of

plywood prototypes for the interiors[cit ti

], and the relationship between Utzon and the

client never recovered. By February 1966, Utzon was owed more than $100,000 in fees[23]

.Hughes then withheld funding so that Utzon could not even pay his own staff. The

government minutes record that following several threats of resignation, Utzon finally statedto Davis Hughes: "If you don't do it, I resign." Hughes replied: "I accept your resignation.

Thank you very much. Goodbye."[14]

Utzon left the project on 28 February 1966. He said that Hughes's refusal to pay him any feesand the lack of collaboration caused his resignation and later famously described the situation

as "Malice in Blunderland". In March 1966, Hughes offered him a subordinate role as "designarchitect" under a panel of executive architects, without any supervisory powers over theHouse's construction, but Utzon rejected this.


10/15

Following the resignation, there was great controversy about who was in the right and whowas in the wrong. The Sydney Morning Heraldinitially reported:"No architectin the worldhas enjoyed greater freedom than Mr Utzon. Few clients have been more patient or moregenerous than the people and the Government of NSW. One would notlike history to record

thatthis partnership was broughtto an end by a fit oftemper on the one side or by afit ofmeanness on the other." On 17 March 1 , it reported:[14]"It was not his faultthat a

succession of Governments and theOpera House Trust should so signally have failed toimpose any control or order on the project .... his concept was so daring that he himself could

solve its problems only step by step .... his insistence on perfection led him to alter his designas he went along."

Yet, in an article inHarvard Design Magazinein 2005 [24], professorBent Flyvbjerg notesthat Utzon fell victim to a politically lowballed construction budget, which eventuallyresulted in a cost overrun of 1,400 percent. The overrun and the ensuing scandalthatitcreated kept Utzon from building more masterpieces. This, according to Flyvbjerg, is the realcost ofthe Sydney Opera House:

Utzon was thirty-eight when he won the competition forthe Opera House - howwould the work ofthe mature master have enriched ourlives? We'll never know.That's the high price Sydney has imposed by its incompetence in building the OperaHouse.

Gold lettering on collectible Sydney Opera House wine, aRiesling

The Sydney Opera House opened the way forthe immensely complex geometries of some

modern architecture. The design was one ofthe first examples ofthe use ofcomputer analysisto design complex shapes. The design techniques developed by Utzon and Arup fortheSydney Opera House have been further developed and are now used for architecture, such asworks ofGehry andblobitecture, as well as most reinforced concrete structures. The design isalso one ofthe firstin the world to use aralditeto gluethe precast structural elements togetherand proved the concept for future use.

The Opera House was also a firstin mechanical engineering. Another Danish firm,SteensenVarming, was responsible for designing the new air-conditioning plant, the largestin


11/15

Australia atthe time, supplying over 00,000 cubic feet (17,000 m3) of air per minute [25],using the innovative idea of harnessing the harbour waterto create a water-cooled heat pumpsystem thatis stillin operation today. [2

]

[edit] Opening

The Opera House was formally opened byElizabeth II, Queen of Australia, on 20 October1 73, with a large crowd in attendance. The architect, Jrn Utzon, was notinvited to theceremony, nor was his name mentioned. The opening was televised and included fireworksand a performance ofBeethoven'sSymphony No. 9.

Priorto the opening, a number of performances had already taken place in the finishedbuilding:

y The firstopera performed was Sergei Prokofiev's War and Peace, in the OperaTheatre on 28 September (conducted by theAustralian Opera's Music Director,Edward Downes).

y The first solopiano recital was in the Concert Hall on 10 April, played byRomolaCostantinoto an invited audience[27].

y The first public concertin the Concert Halltook place on 2 September. It was an all-Wagnerconcert performed by the Sydney Symphony, conducted by CharlesMackerras and with Birgit Nilsson as the soprano soloist.

Afterthe opening:

y The firstliederrecital was given by Birgit Nilsson on October, accompanied byGeoffrey Parsons

[28].

y The first violin and piano recital was given byWanda Wikomirska, also withGeoffrey Parsons.

[2 ]

During the construction ofthe Opera House, a number oflunchtime performances werearranged forthe workers, with PaulRobesonthe first artistto perform atthe (unfinished)Opera House in 1 0.

[edit] Reconciliation with Utzon

The Utzon Room: rebuilt and redecorated to a design by Utzon

Beginning in the late 1 0s, theSydney Opera House Trust began to communicate with JrnUtzon in an attemptto effect a reconciliation and to secure his involvementin future changes


12/15

to the building. In 1 , he was appointed by the Trust as a design consultant for futurework.

[30] In 2004, the firstinterior space rebuiltto an Utzon design was opened, and renamed"The Utzon Room"in his honour.[31] In April 2007, he proposed a major reconstruction oftheOpera Theatre.[32] Utzon died on 2 November 2008.[33]

A state memorial service, attended by Utzon's son Jan and daughter Lin, celebrating the

creative genius of Jrn Utzon was held in the Sydney Opera House Concert Hall on 25 March200 featuring performances, readings and recollections from prominent figures in theAustralian performing arts scene.

On Tuesday 17 November 200 , Sydney Opera House officially opened the refurbishedWestern Foyers and Accessibility improvements, the largest building project completed sinceJrn Utzon was re-enagaged in 1 . Designed by Utzon and his son Jan, in collaborationwith Richard Johnson of Johnson Pilton Walker, the project has transformed the WesternFoyers into a stylish and functional space providing patrons with additional amenitiesincluding new ticketing, toilet and cloaking facilities. Importantly, new escalators and a

public lift have vastly improved access forless mobile visitors, people with a disability andfamilies with prams.

On the same day, Louise Sauvage OAM was announced as Sydney Opera House's inauguralAccessibility Ambassador. In this role Louise Sauvage will provide advice on theimplementation of Sydney Opera House's Access Strategic Plan with a view to furtherimproving access for people with disabilities.

[edit] Inspiration for new works

In 1 3, Constantine Koukias was commissioned by the Sydney Opera House Trustinassociation with REM Theatre to composeIcon, a large-scale music theatre piece forthe 20thanniversary ofthe Sydney Opera House.

[edit] 10th anni ersary of the Message Sticks Festi al

Opera House during second Sound and Light Festival 200

The 200 Message Sticks Indigenous Film Festival, which was also its 10th anniversary, washeld atthe Sydney Opera House. Its curators wereDarren Dale and Rachel Perkins.

[34][35][3 ]

[edit] See also


13/15

y Australian Landmarksy List of official openings by Elizabeth II in Australiay Wonders of the Worldy Auditorio de Tenerife

[edit] References1. ^Sydney Morning Herald - his death2. ^ Braithwaite, David (2007-06-28). "Opera House wins top status". The Sydney

Morning Herald. http://www.smh.com.au/news/travel/opera-house-wins-top-status/2007/06/28/1182624058781.html . Retrieved 2007-06-28.

3. ^Shells of the Sydney Opera House, The Royal Society of New South Wales4. ^ Utzon, J (2002). Sydney Opera House Ut on desi n principles. Sydney: Sydney

Opera House Trust. pp. p20.http://www.sydneyoperahouse.com/uploadedFiles/About_Us/The_Building/Content_AboutUs_UtzonDesignPrinciples.pdf.

5. ^"Sydney Opera House". Tom Fletcher.http://www.sydneyarchitecture.com/ROC/QUA01.htm. Retrieved 2008-02-10.

6. ^ Littlemore, D.S.. Sydney Opera House, Anatomy ofStage Three construction andcompletion: a generalindex. Public Works Department, NSW.

7. ^http://www.sydneyarchitecture.com/ROC/QUA01.htm8. ^ Ziegler, Oswald (1973). Sydney Builds an Opera House. Oswald Ziegler

Publications. pp. 35.9. ^ Eric Ellis interview with Utzon in the Sydney Morning Herald Good eekend, 31

October 1992, http://www.ericellis.com/utzon.htm Retrieved 2 December 200810.^"Millennium Masterwork: Jorn Utzon's Sydney Opera House".Hugh Pearman.

Gabion. http://www.hughpearman.com/articles/sydney.htm. Retrieved 2007-06-28.11.âbSydney Architecture Retrieved 1 November, 200812.âbcd Murray, Peter (2004). The Saga ofthe Sydney Opera House. London: Spon

Press. ISBN0415325218.13.^ Arup, Ove and Zunz, G.J.: Article in StructuralEngineerVolume 47, March 196914.âbcdefghijk Jones, Peter: Ove Arup: Masterbuilder ofthe Twentieth Century.

Yale University Press, 2006.15.^ Bentley, Paul (September 2001). "A Matter of Integrity A Review of Yuzo

Mikami's Ut on's Sphere". The Wolanski Foundation.http://www.twf.org.au/research/mikami.html. Retrieved 2007-01-30.

16.^ Mikami, Yuzo: Ut on's Sphere, Tokyo: Shoku Kusha. 2001.17.^ Hunt, Tony (October 2001). "Utzon's Sphere: Sydney Opera House How It Was

Designed and Built Review". EMAP Architecture, Gale Group.http://www.findarticles.com/p/articles/mi_m3575/is_1256_210/ai_79759827 .Retrieved 2007-01-30.

18.^Bilfinger Berger corporate history19.^Sydney Architecture, retrieved 1 December 200820.^ Sydney Morning Herald (Joyce Morgan) (November 2006). "The phantoms that

threaten the opera house". http://www.smh.com.au/news/national/the-phantoms-that-threaten-the-opera-house/2006/11/10/1162661901377.html . Retrieved 2007-03-13.

21.^ New South Wales Government, Department of Commerce,http://www.records.nsw.gov.au/archives/archives_in_brief_28_1492.asp Accessed 1December, 2008


14/15

22.^abc Farrelly, Elizabeth, 'High noon at Bennelong Point' in Canberra Times,http://www.canberratimes.com.au/news/national/national/general/high-noon-at-

bennelong-point/1374056.aspx?storypage=0, Accessed 1 December, 200823.^http://www.canberratimes.com.au/news/national/national/general/high-noon-at-

bennelong-point/1374056.aspx?storypage=024.^http://flyvbjerg.plan.aau.dk/HARVARDDESIGN63PRINT.pdf25.^ Sunday Mail, 9 April 197226.^ A. Building a masterpiece 200627.^The Wolanski Foundation28.^Wagner Society in NSW Inc: Birgit Nilsson29.^Interview with Wanda Wilkomirska30.^ Sydney Opera House Media Release (August 1999). "Utzon Appointment:

'Reunites The Man and his Masterpiece'".http://www.sydneyoperahouse.com/sections/media_room/media_releases/press_release.asp?idPressRelease=15&sm=5&ss=19. Retrieved 2007-03-13.

31.^ chiefengineer.org. "The Sydney Opera House".http://www.chiefengineer.org/content/content_display.cfm/seqnumber_content/1823.htm. Retrieved 2007-03-13.

32.^ Benns, Matthew (2007-04-08). "Utzon wants to tear up floor of the Opera House".The Sydney Morning Herald. http://www.smh.com.au/news/arts/utzon-wants-to-tear-

up-floor-of-the-opera-house/2007/04/07/1175366528643.html . Retrieved 2007-04-12.33.^"Sydney Opera House designer Joern Utzon dies".Associated Press. 2008-11-30.

http://www.google.com/hostednews/ap/article/ALeqM5ikmCHVv0stlSnIJYFrpEDVBq8I3wD94OKMGO0. Retrieved 2008-11-30.

34.^"SBS Film - Spreading the message by Mary Colbert".http://www.sbs.com.au/films/article/single/4412/Spreading-the-message.

35.^"ABC Sydney - What's On This Weekend - SATURDAY 9 May - FILMFESTIVAL". http://www.abc.net.au/local/stories/2009/05/08/299325.htm.

36.^"Message Sticks".http://www.sydneyoperahouse.com/About/program_Message_Sticks.aspx.

[edit] Further readin

y Hubble, Ava, The Strange Case ofEugene Goossens and OtherTalesfrom The OperaHouse, Collins Publishers, Australia, 1988. (Ava Hubble was Press Officer for theSydney Opera House for 15 years.)

y Duek-Cohen, Elias, Ut! on andthe Sydney Opera House, Morgan Publications,Sydney, 19671998. (A small publication intended to gather public opinion to bringUtzon back to the project.)

y Stuber, Fritz, "Sydney's Opera House Not a World Heritage Item? Open letterto the Hon. John W. Howard, Prime Minister", in:Australian Planner(Sydney), Vol.

35, No. 3, 1998 (p. 116);Architecture + Design (New Delhi), Vol. XV, No. 5, 1998(pp. 1214);Collage (Berne), No. 3, 1998, (pp. 3334, 1 ill.).

y Opera House an architectural"tragedy", ABC News Online, 28 April 2005.y Flyvbjerg, Bent, "Design by Deception: The Politics of Megaproject Approval",

Harvard Design Magazine, Volume 22, 2005.y Watson, Anne (editor), "Building a Masterpiece: The Sydney Opera House", Lund

Humphries, 2006, ISBN 0853319413, ISBN 978-0853319412.


15/15

[edit] External links

Date post:	10-Apr-2018
Category:	Documents
Upload:	majid
View:	225 times
Download:	0 times

Sydney Opera House is a Multi

Documents